贾平凹《山本》中“陆菊人”形象阐释  

On Image Interpretation of Lu Juren in Jia Pingwa’s Shan Ben

作　　者：王俊虎[1] 白翻琴 WANG Junhu;BAI Fanqin(College of Literature,Yanan University,Yanan,Shaanxi 716000,China)

机构地区：[1]延安大学文学院

出　　处：《燕山大学学报（哲学社会科学版）》2019年第6期55-59,共5页Journal of Yanshan University:Philosophy and Social Science

基　　金：国家社科基金项目“陕西文学对延安文学的承传与发展研究”(12XZW020);陕西省高水平大学建设专项资金资助项目“中国语言文学”(2013SXTS01)

摘　　要：贾平凹的长篇小说《山本》将上世纪二三十年代的传说放置于涡镇这个充满着秦岭文化气息的场景中。与其以往作品相比,《山本》突出之处在于作者在这部作品中首次提出“现代性、传统性、民间性”三个概念,并将他对“三性”的认识寄托于作品中的陆菊人身上。人物之间命运的纠葛正是作者对这“三性”认识过程的一个外现,命运的归宿暗含了作者态度的最终指向。陆菊人身上集中了作者的理想与寄托,是贾平凹关于“现代性、传统性、民间性”的美好建构。Shan Ben,Jia Pingwa’s long novel presents a legend of 1920s in Wo Zhen,a town brimming with Qinling mountainous cultural atmosphere.Jia Pingwa puts foreword the concepts of“modernity,tradition and folk”for the first time in this novel,and depicts Lu Juren,a figure in Shan Ben,as an incarnation of the three concepts.The author expresses his own understanding of these concepts by presenting readers the complicated fates of the characters in the novel,and indicates his own attitude by narrating how the fates terminate.Lu Juren is the vey incarnation of the author’s wishes and expectations,demonstrating the author's commitment to concepts of“modernity,traditional and folk”.

关 键 词：贾平凹 《山本》 陆菊人 

分 类 号：I206[文学—中国文学]